[...]It's like holding a mirror up to a mirror. At first it seems like an 'infinite regress,' but then the observer spontaneously dissolves. [...][...]
A very good way to put it! In Russell Edson's "The Tormented Mirror" there's this patented technique in creating a world of reverberation by holding a mirror up to a mirror. In doing so, the poet opens up a wormhole into the possibilities of being. Edson's poem "Sleep," permits the reader to examine some reflections of reflections beneath the mundane reflection of those who are supposedly awake and bored with day-to-day existence:SLEEPThere was a man who didn't know how to sleep; nodding off every night into a drab, unprofessional sleep.Sleep that he had grown so tired of sleeping.He tried reading The Manual of Sleep, but it just put him to sleep. That same old sleep that he had grown sotired of sleep-ing ...
Meeting, Edson is really a great poet - I particularly liked this one - and I will double post:ACCIDENTSA barber has accidentally taken off an ear. It lies like something newborn on the floor in a nest of hair.Oops, says the barber, but it mustn't've been a very good ear. It came off with so little complaint.
Be alert to all your thoughts and feelings, don't let one feeling or thought slip by without being aware of it and absorbing all its content. Absorbing is not the word, but seeing the whole content of the thought-feeling. It is like entering a room and seeing the whole content of the room at once, its atmosphere and its spaces. To see and be aware of one's thoughts makes one intensively sensitive, pliable, and alert. Don't condemn or judge, but be very alert. To see "what is," is really quite arduous.Watch what is happening inside you, do not think, but just watch, do not move your eye-balls, just keep them very, very quiet, because there is nothing to see now, you have seen all the things around you, now you are seeing what is happening inside your mind, and to see what is happening inside your mind, you have to be very quiet inside. And when you do this, do you know what happens to you? You become very sensitive, you become very alert to things outside and inside. Then you find out that the outside is the inside, then you find out that the observer is the observed.
The psychedelic effects of the dissociatives are difficult to explain. They are nothing whatsoever like LSD or related drugs (mescaline, DMT, mushrooms, etc.) but they are clearly psychedelic. The best way I can explain the difference between dissociatives and traditional serotonergic psychedelics is this: Serotonergic psychedelics are Eros, and dissociatives are Thanatos. The serotonergics are Birth, they are sensory overload, focus on the details, awareness of the external universe. The dissociatives are Death, sensory shutdown, focus on the archetypes, awareness of the internal universe. Serotonergics are the "Ana" side of Chaos, dissociatives the "Kata" side of Chaos (Chaos being the essential driving energy behind reality, if you will). Ultimately, they can both take you to the same place -- mystical union, ego-loss, or just plain "trippin' balls" depending on your point of view -- but they take you by different routes. I like to think of both routes as complementary ... but only if they don't hurt you in the process of getting there!
[...] Both deeply philosophical and profoundly pragmatic, Wallace's speech emphasized the fruitful implications of studying the contemplative mind, both from a third-person and from a critical first-person perspective. The critical first-person perspective is typically neglected by science because the modern scientific paradigm reveres absolute objectivity and impersonality, rendering the subjective "taboo," Wallace said. This subjective method would include critically examining one's own experience during meditation as a form of academic study. Wallace fervently argued that this type of subjective, introspective study of the contemplative mind is vital, when coupled with the more traditional third-person mode of scientific research. Furthermore, Wallace said this type of contemplative study should be worked into the formal American higher education system. [...]
I'm not sure if that'd be similar to an out-of-body experience. The latter can be achieved "at will" by entering a certain state of mind between sleeping and being awake (sleep paralysis). To do this, you have to be extremely tired, e.g., you only slept 2 hours last night. Then you have to take a nap during the day. To make up for lost time, the brain will put you directly into REM sleep, which is usually only achieved hours after falling asleep. However, your brain knows you are tired, so you go straight to REM sleep. Now you have to sort of "wake up." The best way to do this is to take your nap with something really important in mind. For instance, choose to take the nap before having to go to class in 20 minutes. Naturally, you will think to yourself that you cannot sleep, since there isn't enought time. But since you are so tired, you actually do fall asleep, without the desire to sleep. Because of this, you may enter a state of "sleep paralysis," where you can see perfectly fine through your eyes (looking straight at the ceiling) but your body is fully paralyzed (since the brain still has you under paralysis believing you are fully asleep). At this point, you can sort of let your mind wander, and any dream can come true. You just think whatever you want and you are dreaming it (lucid dreaming). The first thing you must do is get out of bed. Since you are paralyzed, your body is not going anywhere. So you have to use your mental strength to "pull" yourself out of bed. Now, you can look back at the bed and guess what, there you are. You can also fly to the ceiling if you want to see yourself from up there.
Quote from: American Ale on October 14, 2008, 06:54:52 PMAn NYT article quotes a couple of studies by Lisa K. Libby and colleagues. One of them looked at the behavior of voters and found that when they were asked to visualize themselves voting from a third-person perspective, they were more likely to be positive towards the idea of voting and more likely to actually vote than voters who visualized themselves voting from a first-person perspective. This finding is obviously very useful for motivation and behavior change therapy.The implications of these results for self-improvement, whether sticking to a diet or finishing a degree or a novel, are still unknown. Likewise, experts say, it is unclear whether such scene-making is more functional for some people, and some memories, than for others. And no one yet knows how fundamental personality factors, like neuroticism or extraversion, shape the content of life stories or their component scenes. But the new research is giving narrative psychologists something they did not have before: a coherent story to tell. Seeing oneself as acting in a movie or a play is not merely fantasy or indulgence; it is fundamental to how people work out who it is they are, and may become. "The idea that whoever appeared onstage would play not me but a character was central to imagining how to make the narrative: I would need to see myself from outside," the writer Joan Didion has said of "The Year of Magical Thinking," her autobiographical play about mourning the death of her husband and her daughter. "I would need to locate the dissonance between the person I thought I was and the person other people saw."Lisa Libby, co-author of the study and assistant professor of psychology at Ohio State University, has also conducted another study in which the researchers recruited 27 college students who on a questionnaire rated themselves as socially awkward in high school. They were then asked to recall a socially awkward event from their high school years, either from a first-person or third-person perspective. Students who were told to take the third-person perspective were more likely than those who were told to take a first-person viewpoint to say they had changed, and were no longer so socially awkward.But there was another twist to this study.Immediately after filling out the ratings, students were individually put in a room with a person whom they thought was another student participating in the experiment. But in fact, the other person was an assistant of the researchers (who did not know whether the participant had been told to use the first or third-person in the study). The assistant turned on a concealed tape recorder to see how many times the participant attempted to start a conversation. The assistant also rated the participant on a variety of measures of sociability. The results showed that participants who had viewed their past socially awkward moment from a third-person perspective were more likely to initiate conversation, and were rated as more sociable by the research assistant. "When participants recalled past awkwardness from a third-person perspective, they felt they had changed and were now more socially skilled," Libby said. "That led them to behave more sociably and appear more socially skilled to the research assistant."
An NYT article quotes a couple of studies by Lisa K. Libby and colleagues. One of them looked at the behavior of voters and found that when they were asked to visualize themselves voting from a third-person perspective, they were more likely to be positive towards the idea of voting and more likely to actually vote than voters who visualized themselves voting from a first-person perspective. This finding is obviously very useful for motivation and behavior change therapy.The implications of these results for self-improvement, whether sticking to a diet or finishing a degree or a novel, are still unknown. Likewise, experts say, it is unclear whether such scene-making is more functional for some people, and some memories, than for others. And no one yet knows how fundamental personality factors, like neuroticism or extraversion, shape the content of life stories or their component scenes. But the new research is giving narrative psychologists something they did not have before: a coherent story to tell. Seeing oneself as acting in a movie or a play is not merely fantasy or indulgence; it is fundamental to how people work out who it is they are, and may become. "The idea that whoever appeared onstage would play not me but a character was central to imagining how to make the narrative: I would need to see myself from outside," the writer Joan Didion has said of "The Year of Magical Thinking," her autobiographical play about mourning the death of her husband and her daughter. "I would need to locate the dissonance between the person I thought I was and the person other people saw."
So what is the correct action in which there is no will, no choice, no desire - Now is it possible to see, to observe, to be aware of the beautiful and the ugly things of life and not say "I must have" or "I must not have"?. Have you ever just observed anything? Is there an action in which there is no motive no cause-the self does not enter into it at all? Of course there is. There is when the self is not which means no identifying process takes place.... Effortless observation....choiceless observation.... There is the perceiving of a beautiful lake with all the colour and the glory and the beauty of it, that's enough. Not the cultivating of memory, which is developed through the identification process. Right?You want more and more and more and more, and "the more" means that the past sensation has not been sufficient...A mind which is seeking the 'more' is never conscious of 'what is' because it is always living in the 'more'-in what it would like to be, never in 'what is'. ... meditation is actually seeing 'what is'... when no identification.... not identified by thought....There are only sensation.So we are asking is there a holistic awareness of all the senses, therefore there is never asking for the 'more'. I wonder if you follow all this? Are we together in this even partially? And where there is this total-fully-aware-of all the senses, awareness of it-not you are aware of it.... the awareness of the senses in themselves -- then there is no centre -- in which there is awareness of the wholeness. If you consider it, you will see that to suppress the senses... is contradictory, conflicting, sorrowful.... To understand the truth you must have complete sensitivity. Do you understand Sirs? Reality demands your whole being; you must come to it with your body, mind, and heart as a total human being....Insight is complete total attention...I wonder if you know what it means to be aware of something? Most of us are not aware because we have become so accustomed to condemning, judging, evaluating, identifying, choosing. Choice obviously prevents awareness because choice is always made as a result of conflict. To be aware.... just to see it, to be aware of it all without any sense of judgement.... Just be aware, that is all what you have to do, without condemning, without forcing, without trying to change what you are aware of..... if you are aware choicelessly, the whole field of consciousness beings to unfold..... So you begin with the outer and more inwardly. Then you will find, when you move inwardly that the inward and the outward are not two different things, that the outward awareness is not different from the inward awareness, and that they are both the same.Be alert to all your thoughts and feelings, don't let one feeling or thought slip by without being aware of it and absorbing all its content. Absorbing is not the word, but seeing the whole content of the thought-feeling. It is like entering a room and seeing the whole content of the room at once, its atmosphere and its spaces. To see and be aware of one's thoughts makes one intensively sensitive, pliable, and alert. Don't condemn or judge, but be very alert. To see "what is," is really quite arduous.To observe 'what is', the mind must be free of all comparison of the ideal, of the opposite. Then you will see that what actually 'is', is far more important than what 'should be'....